Blonde On Blonde
Band members Related acts
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line up 1 (1967-68) - Ralph Denyer
(RIP 2011) --
vocals, guitar keyboards
line up 2 (1968) - Ralph Denyer
(RIP 2011) --
vocals, guitar keyboards NEW - Simon Lawrence -- guitar
line up 3 (1968-70) - Ralph Denyer
(RIP 2011) --
vocals, guitar keyboards
line up 4 (1970-71) - Leslie (Les) Hicks (RIP 2022) -- drums, percussion - Richard Hopkins (aka Richard John) (RIP 2022) -- bass, keyboards
- Gareth Johnson -- lead guitar, sitar, lute, electronic
effects Ralph Denyer)
line up 5 (1972-72) NEW - Graham Davies -- vocals, guitar, bass, banjo (replaced
Richard
Hopkins)
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- Aquila (Ralph Denyer) - Crystal Suspension (Les Hicks) - Graham Davies (solo efforts) - The Diplomatics (Dave Thomas) - The Rooster Brothers (Graham Davies) - Shortstuff (Dave Thomas) - The SW4 (Ralph Denyer) - Dave Thomas (solo efforts) - The Dave Thomas Blues Band (Dave Thomas)
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Genre: progressive Rating: *** (3 stars) Title: Contrasts Company: Janus Catalog: JLS-3003 Year: 1969 Country/State: Newport, South Wales Grade (cover/record): VG+/VG+ Comments: US pressing; gatefold sleeve Available: 1 Catalog ID: 4350 Price: $70.00 Cost: $1.00
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In spite of the unoriginal name (they borrowed it from Dylan's 1965 album), this short-lived and little known South Welsh outfit stands as one of my favorite 'unknown' bands. Drummer Les Hicks, bassist/keyboard player Richard Hopkins and guitarist Gareth Johnson started their collaboration in 1967 as members of the Newport, South Wales-based blues-rock outfit The Cellar Set. Deciding they needed a singer they put an ad in Melody Maker, hiring Ralph Denyer Band front man/singer/guitarist for the job.
In 1968 the quartet packed up their gear leaving South Wales for London. Once in London they opted to add a second guitarist to the line-up. Having a resume that included stints with Roy Harper and Al Stewart, they also brought in Simon Lawrence, though his tenure was brief. Playing clubs such as London's Middle Earth generated some attention and eventually a gig opening for The Jefferson Airplane's first UK tour. Pye Records producer Barry Murray took an interest in the group signing them to a recording deal. Janus Records subsequently acquired US distribution rights.
Penned by guitarist Lawrence, the band debuted with an instantly obscure UK single that attempted to meld Indian influences (sitar, Indian percussion) with English folk music (acoustic guitar). I guess it was cutting edge in 1968, but it wasn't particularly melodic or all that interesting.
- 1968's 'All Day All Night' b/w 'Country Life' (Pye catalog number 7N 17637).
While the debut
45 did little commercially Pye stuck
with the band agreeing to fund an album. Back down to a quartet with
guitarist Lawrence's departure, 1969's Barry Murray produced "C
Yeah, the British pressing is listed in Hans Pokora's 3001 Record Collector's Dreams. Not sure why the Japanese version sporting an alternative cover was not included in the Pokora book (PYE catalog number #YS-2248-Y) . I'm guessing it's pretty darn rare. The album was originally released with a gatefold sleeve. I'll admit I still get the creeps when looking at the spider perched on the woman's butt cheek; though it was certainly was a nice looking butt cheek.
Support from Pye also saw them land a spot at the 1969 Isle of Wight festival (coincidently headlined by Dylan).
"Contrasts"
track listing: 1.) Ride with Captain Max (Ralph Denyer - Les Hicks - Richard Hopkins - Gareth Johnson) - 5:21 rating: **** stars The
album's lone group composition, 'Ride with
Captain Max' offered up a prime slice of '60s English psych moving into West
Coast jam-rock territory. The captivating melody bounced back and
forth between Denyer and Johnson's soaring
twin lead guitars (which have always reminded me a touch of The Allman
Brothers and pretty acoustic sections with recalled a tuneful version of the
International String Band. The closing segment abruptly switched back
to another instrumental section showcasing Hicks' pounding drums and
Hopkins' keyboards. Liner note comments on the song: "Captain
Max is fiction and fact, the star rider we've all looked up to. A
group composition and atypical Blonde on Blonde fusion of heavy electric
rock and the simplicity of acoustic guitar and voice. This starts and
finishes their stage performance." Ever
wondered what a mash-up of an Indian raga and a slice of English folk music
would sound like? Well judging by Johnson's composition 'Spinning
Wheel' the results were surprisingly catchy and enjoyable. Hicks
percussion work was dynamite with a good set of headphones. Johnson
provided the sitar and flute instrumentation (again a treat to hear with a
good set of headphones). Get ready for dreams filled with Nehru
jackets. Liner note comments on the song: "Gareth
wrote this, the message is explicit and real." If
you've heard and like The Incredible String Band's original version of 'No
Sleep Blues' (it is on their 1967 "The 5000 Spirits Or The Layers
Of The Onion" album), you may have some issues with the Blond
On Blonde remake. Their remake of Williamson's prototype hippy tune
morphed it into something that sounded like a cross between Lovin' Spoonful
styled jug music and English folk. It was certainly more commercial than the
ISB original, but I'll tell you Denyer's speak-sing vocals irritated me as
much as the original. Liner note comments on the song: "One
of Robin Willliamson's songs. Listen to the whole sequence of trauma in miniature." Written
by producer Barry Murray, the fragile harpsichord powered ballad 'Goodbye'
had a very mid-'60s English pop song - imagine The Bee Gees if they didn't
sign with irritating falsettos. Liner note comments on the song: "Prior
to recording this the group had never played it before, it just fell into
place and was complete. Goodbye to a small word with a big meaning,
here it's somewhat personal, one of those things we all experience sometime
or other whether we expect to or not." Opening up with some crushing Hicks drums 'I Need My Friend' was one of the album's more conventional rockers. With the repetitive title track chorus the tune featured a nifty keyboard riff with Hopkins providing a melodic bass line and Johnson echoing the driving riff on fuzz guitar. Bet this one would have been a blast in a live setting. Liner note comments on the song: "All Ralph's, another session composition this really moves. A simple statement of everybody's aversion to indifference." Credited to "Contrasts Blonde On Blonde the track was tapped as a single in France:
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1969's 'I Need My Friend' b/w 'Conversationally Making the Grade' (Pye
catalog number 45.PV 15325)
6.) Mother Earth (Gareth Johnson) - 5:01 rating: **** stars Based on Johnson's ominous lyrics I've always thought the ballad 'Mother Earth' had a pro-ecology message. Powered by some pretty Hopkins organ and beautiful acoustic guitar which injected a folk feeling, it was one of the album's more memorable offerings. It's also interesting to note Earth Day didn't start until April, 1970 so these guys were getting a jump on the environmental movement. Liner note comments on the song: "There are more questions in life than answers., this is a very atmospheric recording. A Gareth Johnson song full of mood and menace."
1.) Eleanor Rigby (John Lennon - Paul McCartney) - 3:17 rating: ** stars As
mentioned earlier, it sometimes seems every late-'60s and early-'70s album
included at least one Dylan or Beatles cover. Here's Blonde on
Blonde's offering. The opening acoustic guitar interplay was
interesting and the horn section was unexpected. Downhill after
that. Summary - needless and the album's weakest performance.
Liner note comments on the song: "I
have a theory that at best some popular songs are profound whether due to
circumstances, for example "We'll Meet Again" during the war years
of 1939-1945, or because they crystallize a common emotion, typified for
lovers in "Every Time We Say Goodbye", they pinpoint a grain of
truth and magnify if for us in to assimilate. 'Eleanor Rigby; tells
profoundly of loneliness, the melody and lyrics blend perfectly to create a
compelling poignancy to which Blonde on Blonde have given an urgent and
sympathetic treatment."
Yeah, that's laying it on a little heavy. My
favorite song, the opening guitar segment has always reminded me of
something George Harrison contributed to the early Beatles catalog.
From there the tune flipped into a bouncy and hysterical tutorial on English
economics and picking up "birds". Johnson's comments on the
song: "A really
funky sound, this is the modern point song, all about pretense with personal
status. Ralph wrote this just by looking around him." The
brief instrumental 'Regency' offered up a beautiful harpsichord propelled medieval
flavored piece. Liner note comments on the song: "Evocative
of another time and place, when life was at a more sedate pace." Complete
with lute, acoustic guitar and group vocals, the Elizabethan
ballad 'Island On an Island'
was another track that explored medieval
English folk music. It reminded me of something The Amazing Blondel
might have recorded on one of their early album. Liner
note comments on the song: "Acoustic
guitar and whistle on this song of Garth's create an intriguing sound which
gives a sense of hope and newfound joy." The
liner notes make sense when you listen to the acoustic heartbreak ballad 'Don't Be Too Long'.
Beautiful lead vocal from Denyer.
Liner note comments on
the song: "Another
departure, literally. Voice and guitar create a feeling of mild
despair and the cry is a statement of attention." Another pretty ballad though it featured a return to full electric line-up, 'Jeanette Isabella' was another tune with commercial potential. The Spanish-flavored acoustic guitars added a nice touch throughout. Liner note comments on the song: "Looking down from your high windows." Aloof and Virginal, a vague and distant figure who is always apparent as the sing suggests."
©
Scott R. Blackerby April, 2021
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Genre: progressive Rating: *** (3 stars) Title: Rebirth Company: Trans-World/Ember Catalog: NR 5049 Year: 1970 Country/State: Newport, South Wales Grade (cover/record): VG+/VG+ Comments: gatefold sleeve; Canadian press Available: 1 Catalog ID: 5351 Price: $120.00 Cost: $1.00
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1970's "Rebirth"
was released in the wake of a heavy touring schedule including an
August 1969 performance in front of 150,000 close friends at the Isle of
Wight Festival (by coincidence Bob Dylan was the headliner)
The album also marked the
introduction of ex-Skid Row singer/guitarist and longtime friend David
Thomas who replaced singer/guitarist Ralph Denyer. (Denye
"Rebirth" track listing: 1.) Castles In the Sky (Eve King - Paul Smith) - - 1970's 'Castles In the Sky' b/w 'Circles' (Ember catalog EMBS 279).
2.) Broken Hours (David Thomas) -
1.) November (David Thomas) -
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Genre: progressive Rating: *** (3 stars) Title: Reflections On a Life Company: Ember Catalog: NR 5058 Year: 1971 Country/State: Newport, South Wales Grade (cover/record): VG+/VG+ Comments: gatefold sleeve Available: 1 Catalog ID: 5068 Price: $150.00 Cost: $1.00
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1971's "Reflections
On a Life" was recorded in the wake of another personnel
shakeup that saw original guitarist Richard/John Hopkins replaced by singer/multi-instrumentalist Graham
Davies. With drummer Les Hicks and
guitarist Gareth Johnson sharing production responsibilities, the result was
the band's most conventional, commercial and to some extent pedestrian release.
With a couple of exceptions including thedisconcerting 'Happy
Families' and the 'Revolution Number 9'-styled sound collage 'No.2
Psychological Decontamination Unit', the band's earlier progressive moves
were absent from their third set. That said, the collection certainly started out with a bang. Complete
with crying babies, backward tapes, bizarre sound effects and ominous voca l treatments, the Gareth Johnson penned
'Gene Machine' was easily the wildest thing the band ever recorded. From there
on it was far less experimental and less interesting (though side two's 'The
Rut' continued the psych mood). With Johnson, Dave Thomas and Graham
Davies splitting songwriting chores tracks like 'Love
Song' and 'Bar Room Blues'
found the band exploring a modest country/folk-rock orientation, while 'I
Don't Care' and 'The
Bargain' pursued a surprisingly conventional AOR sound. The
performances were never less than sterling and the band excelled at
injecting interesting touches throughout the collection (check out the
Eastern influences that cropped up at the end of 'Ain't It Sad Too'), making
the entire album worth hearing. In case anyone cared, propelled by a killer lead
guitar 'Sad Song for An Easy Lady' and the pretty ballads 'The Bargain'
(which I could swear I've heard elsewhere) and 'Chorale (Forever)' made for
the album's standout performances.
"Reflections On a Life" track listing: 1.) Gene Machine (Gareth Johnson) - 2:14 rating: ** stars The band at their most experimental; complete with backward tapes, sound effects (crying babies) which abruptly switched into a strange segment of acoustic folk with an off=putting, treated, echo-enhanced vocal. Note I said experimental; not necessarily enjoyable. 2.) I Don't Care (Gareth Johnson - Dave Thomas) - 2:38 rating: *** stars Straight ahead, commercial FM boogie rocker ... Think along the lines of early Foghat (in fact, the guitar refrain sounded like something Lonesome Dave Peverett and company might have unconsciously "borrowed" from the band). Quite professional and largely anonymous for it, though it improved after you'd had a couple of cold beers. 4.) Bar Room Blues (Dave Thomas) - 5:43 rating: ** stars The opening chords led you to believe this was going to be an acoustic folky tune and when the rest of the band kicked in the tune took off in a country-tinged direction, complete with some needless banjo and harmonica touches. The guitar work was nice enough, but overall it wasn't something I particularly enjoyed. 5.) Sad Song for An Easy Lady (Dave Thomas) - 4:15 rating: *** stars 'Sad Song for An Easy Lady' started out with a pretty acoustic segment before shifting gears into one of the album's isolated blues-rock tunes. Nice wah wah lead guitar, harmonica, and bass backing with Thomas turning in one of his best vocals. The tune was tapped as a UL single: - 1972's 'Sad Song for An Easy Lady' b/w 'Happy Families' (Ember catalog number EMBS 316) 6.) Ain't It Sad Too (Graham Davies) - 4:23 rating: *** stars Initially I though 'Aiin't It Sad' was kind of a bland country-blues tune. The song's standout performance came in the form of Graham Davies dobro work, but with a couple of spins, this one really grew on me.
1.) The Bargain (Dave Thomas) - 4:18 rating: *** stars Another pretty acoustic ballad, 'The Bargain' demonstrated what a nice voice Thomas had, but like much of the album, there simply wasn't much of a hook to grab on to. 2.) The Rut (Dave Thomas) - 5:21 rating: **** stars Having been married for over twenty years, lyrically 'The Rut' remains one of the most disturbing and depressing "relationship" tunes I've ever heard. Thomas' tale of a dead relationship was amazingly cold, depressing, and quite colorful - still, you couldn't help but feel a bit of compassion for his aging partner ... Around the 4:20 mark lead guitarist Johnson was finally let off the leash, turning in one of the album's best solos. Amazing tune. 3.) Happy Families (Gareth Johnson) - 3:46 rating: **** stars Screaming guitars are a normally a good way to start out a tune and that's certainly case on this out-and-out rocker, though the lyrics were certainly a bit on the disturbing side. Would make a nice companion piece to The Police's 'Mother'. 4.) No.2 Psychological Decontamination Unit (instrumental) (Gareth Johnson) - 3:16 rating: ** stars Admittedly the song title was a bit off putting, but then 'No.2 Psychological Decontamination Unit' was recorded in 1971 ... It was basically a three minute sound collage that sounded like a warmed over Pink Floyd outtake and which was likely to give most listeners a mild headache. 5.) Chorale (Forever) (Gareth Johnson) - rating: *** stars
'Chorale (Forever)' was apretty acoustic ballad with some nice orchestration ... A little lacking in the lyric department "I love you, if you love me, together, together, wait and see" repeated over and over and over ... The track was released as an Italian single:
- 1972's 'Chorale (Forever)' b/w 'I Don'tt Care' (Cobra catalog number JB 002 042)
And that was pretty much the end of it ... Ember dropped the band from its recording roster. Johnson quit and ended up working as an architect and civil engineer. Davies, Hicks and Thomas soldiered on briefly as a trio completing a final tour. Frustrated with their inability to break commercially the trio called it quits in early 1972.
Davies eventually ended up playing with The Rooster Brothers. http://www.bluesline.freeserve.co.uk/rooster.htm
Thomas seems to be the only band member who remained actively involved in music playing with a number of bands including Shortstuff, The Diplomatics and the David Thomas Band. He also released a solo LP "Coldharbour" that included a number of tracks that were originally intended for a Blonde On Blonde release.
For anyone interested Thomas has a nice website at: http://www.thedavethomasband.co.uk/s1/Home.html
As mentioned earlier, Denyer went on to front the short-lived band Aquila and has published a guitar instruction book: The Guitar Handbook (ISBN 0679742751)
Postscript: This is one of those band with a high fatality rate. - Denyer passed on in 2011 - Hick and Hopkins both died in October 2020.
© Scott R. Blackerby April, 2022
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ontrasts"
was released in 1969. I've seen the collection described as progressive. To some degree
that's a misnomer and
disservice to the band. While there were isolated progressive
leanings across the grooves the set was simply too diverse to be lumped under
one broad and
meaningless genre. With all four members contributing to the writing chores,
these guys effortlessly managed to cover a broad array of genres across the
album's 39 minute running time. The leadoff track 'Ride with
Captain Max') managed a nice mash-up of conventional '60s rock moves and a
more West Coast jam sound. Johnson's raga-tinged' Spinning Wheel' was the
set's most psych-oriented track, sporting a great sitar solo. The
brief instrumental 'Regency' sported a lovely medieval
folk feel that was carried over to the Elizabethan
ballad ' Island On an Island'.
Guess I never realized how pretty such music could be. The band were
equally at home with more conventional material like 'I Need My Friend',
'Jeanette Isabella' and 'Goodbye' (the latter
featuring a beautiful harpsichord-propelled melody. Among the few missteps was a needless horn enhanced
cover of The Beatles 'Eleanor Rigby'. In their defense it seemed
like ever early-'70s album was contractually required to include at least
one Dylan, or Beatles cover. Ultimately that versatility provided to
be a strength and a weakness. It's a strength in that Blonde on Blonde
showed they were capable of writing and performing across a wide spectrum of
musical niches. It wasn't like listening to a Ten Years After album
where you'd better like blues-rock. The downside was you had no clear
idea who these guys were. You bought a Ten Years After album because
you liked blues-rock. You bought a Blonde on Blonde album because you
liked ... well you liked musical variety? Oh, maybe it was you
liked the album cover ...
r subsequently reappeared as
the founding member of short lived progressive outfit Aquila.) In
the role of lead vocalist Thomas also picked up a large slice of the writing
chores. to my ears Thomas was considerably more versatile than Denyer had been. The extra firepower provided by Thomas'
cool and versatile chops was apparent
in the form of a tougher, more comfortable rock oriented sound like 'Broken Hours' and the should've-been-a-radio-hit 'Heart without a
Home'. That said, like the debut the sophomore set was fairly varied, including stabs at Moody Blues-styled
ballads ('Castles In the Sky'), progressive romps ('You'll
Never Know Me/Release') and fuzz-propelled rockers
('November'). As before Gareth Johnson's versatile guitar provided many
of the highlights - check out his scorching solos on 'Circle' and 'Colour Question'.
Not that it mattered one way or the other, but for some strange reason bassist
Richard Hopkins was credited as
'Richard John'. Nothing
more than a personal preference, this one strikes me as being the best of
their three LPs. Unlike the debut, their sophomore release never saw an
American release, though the Trans-World label picked it up for Canadian
release. 
